Correggio

Italian 1489-1534 Correggio Locations Italian painter and draughtsman. Apart from his Venetian contemporaries, he was the most important northern Italian painter of the first half of the 16th century. His best-known works are the illusionistic frescoes in the domes of S Giovanni Evangelista and the cathedral in Parma, where he worked from 1520 to 1530. The combination of technical virtuosity and dramatic excitement in these works ensured their importance for later generations of artists. His altarpieces of the same period are equally original and ally intimacy of feeling with an ecstatic quality that seems to anticipate the Baroque. In his paintings of mythological subjects, especially those executed after his return to Correggio around 1530, he created images whose sensuality and abandon have been seen as foreshadowing the Rococo. Vasari wrote that Correggio was timid and virtuous, that family responsibilities made him miserly and that he died from a fever after walking in the sun. He left no letters and, apart from Vasari account, nothing is known of his character or personality beyond what can be deduced from his works. The story that he owned a manuscript of Bonaventura Berlinghieri Geographia, as well as his use of a latinized form of Allegri (Laetus), and his naming of his son after the humanist Pomponius Laetus, all suggest that he was an educated man by the standards of painters in this period. The intelligence of his paintings supports this claim. Relatively unknown in his lifetime, Correggio was to have an enormous posthumous reputation. He was revered by Federico Barocci and the Carracci, and throughout the 17th and 18th centuries his reputation rivalled that of Raphael.
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Correggio Detail of an oval with a putto embracing a dog oil


Detail of an oval with a putto embracing a dog
Painting ID::  31614 		Detail of an oval with a putto embracing a dog
mk74 Parma Camera di San Paolo
mk74 Parma Camera_di_San_Paolo
   
   
     
Correggio Two ovals depicting a putto with a stag's head and a putto with a greyhound oil


Two ovals depicting a putto with a stag's head and a putto with a greyhound
Painting ID::  31615 		Two ovals depicting a putto with a stag's head and a putto with a greyhound
mk74 Parma, Camera di San Paolo
mk74 Parma, Camera_di_San_Paolo
   
   
     
Correggio Two ovals depicting a putto with a stag's head and a putto with a greyhound oil


Two ovals depicting a putto with a stag's head and a putto with a greyhound
Painting ID::  31616 		Two ovals depicting a putto with a stag's head and a putto with a greyhound
mk74 Parma, Camera di San Paolo
mk74 Parma, Camera_di_San_Paolo
   
   
     
Correggio Diana departing for the Hunt,fireplace oil


Diana departing for the Hunt,fireplace
Painting ID::  31617 		Diana departing for the Hunt,fireplace
mk74 Parma, Camera di San Paolo
mk74 Parma, Camera_di_San_Paolo
   
   
     
Correggio Passing away of Saint john oil


Passing away of Saint john
Painting ID::  31618 		Passing away of Saint john
mk74 Parma, Church of San Giovanni Evangelista
mk74 Parma, Church_of_San_Giovanni_Evangelista
   
   
     
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     Correggio
     Italian 1489-1534 Correggio Locations Italian painter and draughtsman. Apart from his Venetian contemporaries, he was the most important northern Italian painter of the first half of the 16th century. His best-known works are the illusionistic frescoes in the domes of S Giovanni Evangelista and the cathedral in Parma, where he worked from 1520 to 1530. The combination of technical virtuosity and dramatic excitement in these works ensured their importance for later generations of artists. His altarpieces of the same period are equally original and ally intimacy of feeling with an ecstatic quality that seems to anticipate the Baroque. In his paintings of mythological subjects, especially those executed after his return to Correggio around 1530, he created images whose sensuality and abandon have been seen as foreshadowing the Rococo. Vasari wrote that Correggio was timid and virtuous, that family responsibilities made him miserly and that he died from a fever after walking in the sun. He left no letters and, apart from Vasari account, nothing is known of his character or personality beyond what can be deduced from his works. The story that he owned a manuscript of Bonaventura Berlinghieri Geographia, as well as his use of a latinized form of Allegri (Laetus), and his naming of his son after the humanist Pomponius Laetus, all suggest that he was an educated man by the standards of painters in this period. The intelligence of his paintings supports this claim. Relatively unknown in his lifetime, Correggio was to have an enormous posthumous reputation. He was revered by Federico Barocci and the Carracci, and throughout the 17th and 18th centuries his reputation rivalled that of Raphael.

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